Last summer the Swedish dance-pop sprite Robyn released a calmly intoxicating EP called “Do It Again,” with the Norwegian electronic duo Royksopp. Her new release is “Love Is Free” (Konichiwa/Cherrytree/Interscope), a five-song “mini-album” (as she insists on calling it) by La Bagatelle Magique, a collaboration with her keyboardist, Markus Jagerstedt, and the producer Christian Falk, who died last year. It’s an efficient blast of dopamine from the club floor, unconcerned about issues of precedent. There are vocoders and retro synth beats and countless exhortations to cut loose. “You don’t like what you can’t control,” Robyn sings on “Lose Control,” in a tone of obvious reproach. “Got to Work It Out” and “Set Me Free” are variations on the same theme, in nominally different tempos. It’s a testament to the suave production, and to Robyn’s brisk charisma, that numbness never sets in. It also highlights the upside of concision: Robyn hasn’t released a conventional full-length album in a decade. With any luck, she’ll put out another EP (or whatever) precisely a year from now.

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Ishmael of Shabazz Palaces, which is releasing a new track free on Adult Swim’s site.CreditPatrick O'Brien-Smith

Adult Swim Singles

A mixtape of exclusive song premieres, unspooling in a controlled dosage: That would be one way to describe Adult Swim Singles, which began in June and will run into October. Presented by the cable network Adult Swim, the series posts a new track free every Monday, at adultswim.com. Among the highlights so far: “Eyehatethou,” an evil-sounding love letter from the Louisiana sludge-metal band Thou; “Sip o’ Poison,” a wallop of racing garage-punk by Cherry Glazerr; and “Worth It,” a woozy cautionary tale, in the form of a rhetorical question, by the producer Clams Casino and the rapper Danny Brown. There’s a willfully eclectic taste profile on display here, in case that isn’t obvious. The most recently posted dispatch was “The Mystery of Lonnie the Don,” an echoey, brooding tale by the underground hip-hop duo Shabazz Palaces; on the near horizon are tracks by Skrillex, Slayer, Flying Lotus and Run the Jewels.

As a sideman to the singer José James and the pianist Kris Bowers, Brad Allen Williams practices a distinctly post-psychedelic guitar heroism, frequently laced with distortion. He tacks in a different direction on his debut album, “Lamar” (Sojourn), a trio outing with Pat Bianchi on Hammond organ and Tyshawn Sorey on drums. Much of the album suggests a fond immersion in 1960s soul-jazz, swinging in the pocket; at times it hints at vintage R&B. (An unlikely highlight is his nod to the Stylistics’ hit version of “Betcha by Golly Wow,” played by Mr. Williams on an electric sitar.) The album’s traditionalist scope suggests a sly curveball, especially to anyone who knows Mr. Sorey as a dauntless avant-gardist. What matters is that Mr. Williams, adopting a crisp tone that recalls Grant Green’s, has an unforced ease with his partners, and seems to be totally in earnest.

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Nicholas Payton and his trio tackle the alphabet on the double album “Letters.”CreditGus Bennett Jr.

Nicholas Payton

LETTERS

There are 26 tracks on “Letters” (Paytone), a new double album by Nicholas Payton, and they’re listed just as you’d expect, from A to Z. Which maybe implies a process more methodical than Mr. Payton is strictly inclined to pursue. A post-bop trumpeter who has lately pivoted toward the keyboard, he spends much of the album on acoustic and Fender Rhodes piano, or Hammond B-3 organ. The same was true of “Numbers,” from last year, but where that album paired Mr. Payton with the upstart funk band Butcher Brown, this one features his working trio with Vicente Archer on bass and Bill Stewart on drums, and a more simmering groove. Mr. Payton does solid work as a keyboardist, and delivers every trumpet solo like an unexpected gift. The one he plays on “F,” a prowling boogaloo, peaks with a high D held for more than 20 long seconds, while he pecks out his own accompaniment on the Rhodes. It’s an act of cool bravado worthy of the song’s dedication: to Axel Foley, Eddie Murphy’s character in the “Beverly Hills Cop” films.

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Jon Cleary maintains his interests in jazz, funk and New Orleans on “GoGo Juice.”CreditDanielle Moir

Jon Cleary

GOGO JUICE

“Jazz, funk, rhythm and blues and soul,” goes the chorus to “Bringing Back the Home,” the emotional linchpin of the new Jon Cleary album, “GoGo Juice” (FHQ/Thirty Tigers). It’s a catalog of Mr. Cleary’s core interests, as a singer-songwriter and pianist in tune with the pulse of New Orleans, his adopted hometown. “GoGo Juice” is his eighth album, another expert mix of strutting party-starters (“Boneyard”) and beseeching soul anthems (“Brother I’m Hungry”), sung in an agreeably raspy voice. The album’s personnel draws from a top tier of New Orleans talent, like the drummer Terence Higgins; it’s hard to picture any other scene bringing such authority to the loping funk of “Get’cha GoGo Juice.” And amid much recent talk about civic recovery in the decade since Hurricane Katrina, Mr. Cleary pointedly calls out to a musical diaspora still scattered “like driftwood washed up on the shore.”

A version of this article appears in print on , on Page AR14 of the New York edition with the headline: Fresh Vibrations From Sweden, New Orleans and Basic Cable . Order Reprints | Today’s Paper | Subscribe